TalenT manager and music industry strategist, Louiza Williams, has unveiled her latest project, a groundbreaking book entitled “How to Win a Record Label Deal.”
The book, according to Williams, is aimed at guiding aspiring and independent artists through the often complicated journey to securing a record deal.
Williams, who has worked behind the scenes with some of Nigeria’s top artists, leverages her years of experience in the entertainment industry to provide what she describes as ‘the blueprint every artist needs’ to break through.
The book is a step-by-step guide that demystifies the record label signing process, offering practical strategies for visibility, branding, and deal negotiation.
“It’s not just about talent — it’s about strategy,” Williams emphasizes in the introduction. She further explains that many gifted artists remain unnoticed simply because they lack the right positioning and industry insight. The book also explores how artists can make money independently while still attracting major label attention, highlighting what Williams refers to as “insider secrets record labels don’t want you to know.”
Among the key lessons, readers will learn how to grow their fanbase, brand like a signed artist, and avoid costly mistakes in contract negotiations. With practical insights, real-world tips, and motivational guidance, How to Win a Record Label Deal stands as a vital resource for anyone serious about turning their music dreams into reality.
Speaking about the inspiration behind the book, Williams said, “Too many talented artists feel stuck, ignored, and frustrated by the industry. This book is my way of showing them there’s a smarter way — one that puts them in control.”
From June 3, 2025 to June 5, 2025, Nigeria will host the first Africa Music Business Roundtable. The event is designed to unite key stakeholders, policymakers, academics and innovators from the continent’s music sector.
The Roundtable will serve as a vital forum for in-depth discussions on the key factors shaping the future of African music, including data, policy, securitisation, and copyright infrastructure. As the music industry in Africa gains unparalleled global visibility, this event aims to capitalise on this momentum to create sustainable systems that promote growth, transparency, and investment.
According to co-founder Michael Odiong, top executives from record labels, rights organisations, government agencies, insight firms, universities and investment firms are expected to attend, joined by independent creators and innovators driving the industry forward.
He said: “This is a pivotal moment for Africa’s music ecosystem. By gathering the right minds, we can develop actionable strategies that benefit everyone in the value chain.
“Participants can look forward to engaging keynote speeches, panel discussions, workshops, and networking opportunities that explore innovative approaches to structuring and expanding Africa’s music ecosystem, benefiting creators, investors, and audiences alike.”
Adding his voice, Dr. Chinedu Chukwuji who is also a co-founder said: “This isn’t merely an industry event—it’s a rallying cry. The Africa Music Business Roundtable serves as a platform for Africa’s music leaders to develop the policies and frameworks that will shape the future of our industry.”
After featuring in over 300 films, Omosexy has made her directorial debut with the release of her film, ‘Mother’s Love.’
Co-produced by Omotola and Tyna Obahiagbon, the film explores themes of maternal sacrifice, redemption, and the quiet strength of women navigating life’s harshest storms.
“I’ve always believed in the power of African stories told by Africans, and after years in front of the lens, I felt compelled to shape narratives from the director’s chair,” Omotola said.
Continuing, the 47-year-old mother of four said, “Mother’s Love is a story close to my heart, and I’m proud to launch this next phase of my career with a film that centers our voices and lived realities.”
Filmed in Nigeria and featuring talented actors including Ifeanyi Kalu, Noray Nehita, Olumide Oworu, Lilian Afegbai, and Baba Rex, the film blends English and Pidgin dialogue to reflect the authenticity of its setting.
‘Mother’s Love’ will begin its festival run later this year as the project is being submitted to top international film festivals, with a release date coming soon.
Nigerian beauty queen and journalist, Mercy Babajide has been crowned Miss Aura International Peace Ambassador 2025 in Antalya, Turkey.
Babajide, who currently holds the titles of Exquisite Queen Nigeria World and Miss Aura Nigeria 2025, added international recognition to her growing list of achievements, further cementing her place as a rising star on the global pageant stage.
Her journey from Ekiti State to the international limelight is a testament to determination and resilience. Despite facing visa delays and limited preparation time ahead of the global contest, Babajide showcased grace and brilliance throughout the competition.
She earned notable placements, including a Top 12 finish in the Intelligence Round and a Top 10 spot in the Best National Costume category. On May 23, she advanced to the Top 20 finalists, sustaining Nigeria’s strong showing at the annual event.
Mercy’s emergence as Miss Aura Peace Ambassador was attributed to her diplomatic presence, leadership qualities, cultural awareness, and dedication to advocacy, according to the Miss Aura International Organization.
Beyond her achievements in pageantry, Babajide is a trained journalist and media professional. She holds a degree in Political Science from Redeemer’s University, a Postgraduate Diploma in Journalism from the International Institute of Journalism, and several professional certifications in Business Development.
She currently works as a newscaster and corporate event host and is admired for her eloquence and commanding presence.
Veteran actor and university lecturer, Professor Sola Fosudo, has expressed concern over the Nigerian government’s continued neglect of the performing arts sector, particularly the absence of functional theatre buildings across the country for graduates of Theatre Arts.
Speaking during a recent interview, Prof. Fosudo criticised the failure of successive governments to provide adequate infrastructure that would support the professional growth of theatre graduates after leaving school.
“The government does not think of how to build several theatres for Theatre Arts graduates where they can work and practice after graduation. They built just one National Theatre at Iganmu, Lagos, so if there’s a play there, people from Agege, Iyana Ipaja and other places in Lagos would have to come to Iganmu,” he said.
Prof. Fosudo, who lectures at the Lagos State University (LASU), compared the situation with that of other sectors such as law and medicine, noting that while governments invest in general hospitals and courts across the country, the same commitment is lacking when it comes to the arts.
“It’s not the same in those other countries that our politicians visit. They build general hospitals across the state, courts too. That way, when lawyers and doctors graduate, there’s a working space for them, unlike Theatre Arts students,” he added.
Popular Yoruba actress Jaiye Kuti has opened up on the need to maintain youthful looks and constantly rebrand in order to remain relevant in the entertainment industry.
Speaking during a recent chat with The Nation, the Nollywood star noted that appearance and personality are critical assets for entertainers, making the fear of aging a common concern.
“In the entertainment industry, you don’t want to get old because what you sell is your face and your personality. So you don’t want to get old,” she said.
Kuti explained that beyond looks, it is also important to continue nurturing one’s craft, especially when it is a natural talent.
“And then whatever talent that you are blessed with, let me say God-given gift, because some people are blessed with a natural gift when it comes to craft or art, you want to keep it so that you start to renew it. The age is there but we are just trying a lot of rebranding,” she added.
On how she maintains her appearance, the actress revealed that although her local gym is currently shut down, she still finds time to stay active.
“I go to the gym once in a while but the gym in my area has been closed. But I love walking, so I walk every day. When you do that regularly, it helps your skin and helps your nerves, and then I take a lot of water,” she said.
A new Yoruba language film, IPEMIDA by Omosowon Tope Segun hits selected cinemas across Nigeria beginning from Friday, May 30. The movie tells the gripping story of a mysterious prophet sent to deliver humanity from the grip of evil.
Produced and directed by Omosowon Tope Segun, popularly known as Woli Osole, and managed by David Lawal, “Ipemida” follows the life of Awayewaserere, a man believed by many to be mentally unstable due to his strange appearance. However, as the story unfolds, it becomes clear that he is no ordinary man, but a prophet of God tasked with warning the world and guiding people toward spiritual truth and healing.
The film delves into themes of prejudice, faith, redemption, and the dangers of judging individuals based solely on their outward appearances.
Set in a modern Yoruba context, the narrative is interwoven with spiritual undertones and moral lessons, making it both culturally rich and socially relevant.
Awayewaserere, the main character, is shown to have a special love for children, often seen teaching them the ways of God. His message is simple yet profound: divine help does not always come in familiar or expected forms.
According to the producer, “Ipemida is more than just a film; it is a reflection of real-world experiences where societal bias often clouds perception and hinders people from recognizing genuine voices of truth.”
The movie is a production of Authority Entertainment and will be distributed by Deepend Distribution.
In recent screenings, “Ipemida” has been described by early viewers as “emotive,” “thought-provoking,” and “spiritually grounded,” with discussions around its message already gaining traction on social platforms and among film critics.
The release of “Ipemida” is part of a growing trend in Nollywood of films that revisit cultural and spiritual narratives with renewed depth and relevance, particularly in indigenous languages.
Deyemi Okanlawon is an accomplished young actor and producer, who worked his way to the top from working a 9-5 job to becoming one of the darlings of film lovers and critics alike. Growing up on Allen Avenue, Ikeja, Lagos, where his mother ran a confectionery store as a baker, and his father worked in the aviation sector, Deyemi’s first hit at acting came while participating in church dramas. He didn’t take it seriously until it seemed lucrative, and he decided to explore his hidden talent on the big screen. In this interview with the Nation’s ASSISTANT ENTERTAINMENT EDITOR GBENGA BADA, he opens up on his career, success and new ventures.
Many believe that to have you in a film costs a lot of money, but once you are paid, you always deliver. How does that make you feel? I want to mention Daddy Pete Edochie and something he said. I’m astounded that he even knows my name. This is a legend I grew up watching. Honestly, people like me exist because men like him thrived and were successful. Now, as for people talking about me at all, I thank God there’s even something to talk about. Many in this industry are not recognised at all, so being recognised, even if controversial, is something. I came into this industry to mind my business, do my job, and take care of the people I’m responsible for. You’ve known me since I was a child, running up and down. I don’t have a new story. I came from good stock. I’m from Abeokuta and Ilisan Remo, Ogun State. I come from royalty. We hold our heads high. We respect people, culture, and tradition, but we don’t take nonsense. I’ve been very intentional and deliberate about putting my heart and soul into my work. So please, don’t come to me with sentiments. They once said I did a film because of “passion.” Well, there was passion, I did the film, didn’t I? And then we grew. We learnt more. Nollywood has grown, at least for some people. But then, they didn’t let others grow. While some films were being shot for five or 10 million, with actors being paid 50–100k, others were shooting for 15 to 100 million, still offering the same fees. That’s where the tension comes in. In 2019, I resigned. I quit acting. I was tired; I wasn’t getting roles that excited me or the kind of pay I could take home to my family. Most importantly, I felt like I was working in an environment where people weren’t trying to be excellent. If you questioned anything, you were seen as doing too much. So, I left and dusted my resume. I had worked in sales and marketing for about 10 years before acting. I found a job as Head of Marketing at Silverbird Film Distribution and stayed there from 2019 to 2021. Then COVID-19 happened. I did ‘Omo Ghetto: The Saga,’ and the film was a hit, and everyone started calling me again. After that, it was back-to-back hits. Top producers and the biggest films and greatest stories came calling and started. But nobody really wanted to pay. So you have to fight for what you deserve. And I think that’s the perception that has been built. Thankfully, it seems I’m doing some things right by just trying to be excellent. I just got back from filming a sci-fi television series in Japan. They needed an African character, did their research, and called me on board. I was there for three months filming. It was the best experience of my life. If there is anything you know about the Japanese, it is that they have the spirit of excellence.
Take us back to Nollywood when you started and compare it to where the industry is now. What has changed, and where do you see it heading in a few years?
I’m so thankful I came into the industry when I did, right at a turning point. Nollywood has always brought joy to Nigerians, but back then, we had issues, not necessarily with storytelling but with production quality and limited budgets. When I joined, people had just started investing more money into films. That shift began to attract talent from outside the traditional thespian space. I wasn’t professionally trained at first. I was self-taught, learning from drama groups in school and church, and from people who studied Theatre Arts. Later, I took a one-month course in “Acting for Film” with the New York Film Academy through the Del-York Film Institute, and that completely changed my perception of acting. It gave me the tools to grow. For the rest of the time, I have been honing my skills. From around 2013 till now, I’ve watched the industry grow in leaps and bounds, thanks to platforms like Africa Magic, Iroko, and a stronger cinema presence. It hasn’t been a smooth ride. We’ve had streaming platforms enter, leave, return again, and now no one’s quite sure what’s happening. But Nigerians are so industrious, and we always find a way. In the next five to 10 years, I believe we’ll see groundbreaking work. It’s happening with Afrobeats already. I often say Afrobeats popped before Nollywood because of its short-form content. It is two to five minutes, and that format goes viral faster. The film is long-form, so it takes more time. It’s like the elephant analogy: the bigger the birth, the longer the gestation. Nollywood is birthing something massive. I’ve seen a lot of new creatives entering the space recently, people from different walks of life doing amazing things. I believe something monumental is coming out of Nigeria and Nollywood that will shock the world. That momentum will attract more streaming platforms, as long as we continue to show that we’re ready. Streamers want excellence, and I hope their business model continues to favour those putting in excellence in their craft.
By the time we count one to 10 actors who are favourites of streamers and producers, your name will pop up. What do you think distinguishes you from others?
I’m on a lane all by myself. People think I’m an actor. I’m not just an actor. Some people act, and then some people become. When I’m emotionally invested in a role or a project, I become that character, and that takes a toll. The reason why I say I don’t take nonsense is that I invest so much. People don’t understand the mental pressure it takes to remain a character for a protracted period. It’s not pretending; it’s becoming. And in a space where we often lack the finances to care for ourselves afterwards. It’s like working in a harmful factory without healthcare. So lately, I’ve done fewer projects, five to six films a year, focusing on quality, not quantity. I try to work only with the best stories and production teams. If I seem like a favourite of the streamers, it’s because I aim to do the best work, and those platforms are the ones doing the best work. It’s about alignment, not favouritism. And the space is open.
There’s a perception that you make a lot of money. Are you truly making that much money?
I’ll speak honestly. Nollywood is financially rewarding for a portion of people, but especially for actors; the majority are not well-paid. I’ve been that guy, paid very little, and I never complained. I didn’t say, “Remove Desmond Elliot and put me.” No. My question was, “How can I become like Desmond Elliot and Ramsey Nouah?” There’s always talk about Nollywood men not making as much money as Nollywood women. But you must understand that as actors, we get paid in three different ways. There’s the acting fee, then there’s non-acting work, brand deals, event appearances, and MC gigs. It is not acting, but because we’re actors, and there’s fan love and gifts. Personally, I don’t receive much here, though occasionally someone asks for my account number. That’s rare for me. Some actors earn a lot more from gifts and fan love, and those kinds of giftings cover a wide spectrum of things. I can’t say much about that because that is not my space. That’s real, but not my reality. As for acting fees, not many films have the budget to pay hefty amounts of money like five, 10, 20, or 30 million naira. Only top productions backed by streamers can afford that kind of budget. Thankfully, I grew up in an entrepreneurial environment. Early on, I wasn’t sure how long-acting would be, so I decided that if I earned one naira, I would split it, half for my family, and half for business. I invested with friends, grew capital, and built a side hustle for myself. I regard myself as a creative entrepreneur. That’s how I’ve been able to sustain myself.
You have a background in marketing. How do you feel that marketing in Nollywood now is mostly about dancing on social media?
Whenever people are faced with a challenge, I think they do not think holistically about it. When you see that it seems like the people who are dancing are getting all the attention, you sit down and investigate it. What is really going on? You can make a fantastic film, and Nigerians won’t watch it. The audience that you are producing for is not receptive to it, so what are you doing? And if you say that you are producing films for the international market, then take the film to the international market; don’t sell it in the Nigerian cinema, where the audience just wants to laugh and have a good time because of the issues we are dealing with. Do you know how expensive things are? People will gather their money, take it to the cinema, and you then give them problems in films to think about. No, it is fun and games. I produced a film too, and I danced, because I wanted to make my money back. Even after doing great work as a filmmaker, you still have to entice the audience and entertain them. It is the person who entertains the most that people will buy their tickets from. I spent my children’s school fees finishing a film. If that film had failed, I’d have been in serious trouble. Thankfully, it worked. But I had to make that decision. If I had cried on social media that I was risking everything for this film, people would’ve shown up out of empathy. That’s the truth. Filmmakers need to learn to speak the language of Nigerians to market films. You speak the language of the people to get them to do what you want them to do. Producers need to begin to collaborate with actors. Yes, you have paid the actor to act, but when it is time to dance, you can’t dance alone; you can be wiser and collaborate with the actors. That is how to grow the industry.
With several of your colleagues facing EFCC scrutiny for Naira abuse, and recent statements from Iyabo Ojo and AY, how do you feel about the ban on spraying money, including dollars? Do you think it’s an overreaction?
I don’t have money to spray, so it’s not really my business. But as a Yoruba man with a twist, the day I have money and want to start spraying, that might become a problem to think about. First, I think just because something is cultural doesn’t make it right. We have a culture that doesn’t emphasise the maintenance of things, just look at how things are built and not maintained. Should we continue this way just because it’s part of our culture? I don’t think so. If we’re trying to recondition people’s minds about their country, respecting the Naira and showing respect for the country could be a good place to start. Secondly, I also feel there are so many issues with corruption and crime in the country across different segments of people. While I wouldn’t call the EFCC’s move against entertainers “too much,” it does feel a bit excessive given everything else we are dealing with. If every day we hear about corrupt officials, politicians, or organisations being brought down by the agency, we’d be more likely to trust that they’re acting in our best interest. Then, if they ask us to stop something like spraying money, we’d likely obey without question because we’d trust that the agency has the moral right to make such requests.
Kindly share with us your experience on your trip to Japan.
Japan was an eye-opening experience. I think every Nigerian, in one way or another, should experience Japan; it would open up our minds to the possibilities of what life can truly be like. Maybe then we’ll take our own country more seriously. Japan works, and it works because of its people. I was privileged to work with one of the biggest agencies there, NHK. The series we shot is in Japanese, but my character speaks English. Interestingly, I also did something for the Embassy of Japan in Nigeria. They wanted me to send a goodwill message to a VIP in Japan for his birthday. Turns out, it was for the Emperor. I originally wrote the script in English, but then I translated it into Japanese. I ended up doing a one-minute, thirty-second monologue entirely in Japanese, wishing the Emperor a happy birthday. That moment meant so much to me; it was an incredible experience.
What should your fans expect from you next?
As for what to expect from me this year, that Japanese series should be launching on Netflix and on Japanese TV stations by December. I also worked last year with my very creative friend, JJC Skillz, on a film titled ‘Seeking Justice.’ It should be hitting cinemas within the next month or two. The trailer is beautiful, and I’m honestly in love with that film. We’ve all seen amazing trailers that didn’t translate to good films, but this one is different. I’m proud to be part of it. It features some really incredible actors, and the story is just superb. It was a tough negotiation, but we pulled through, and I’m glad we did.
What next?
Right now, I’m about to start shooting a project with FAAN, Funke Akindele’s production company. I’m looking forward to that. Funke is one of my absolute favourites to work with. Beyond that, I have a few ideas I’m developing. We’re looking for the right partners, not just people with money, but people who can also bring exposure, expertise, and experience to bring these ideas to life. There are always talks of creative industry grants and funds going around, but it often feels like no one knows what’s happening. If and when those meetings are happening, please, they should call us. Let us know. At least involve us. We want to be part of that conversation.
Any words for young Nigerians?
To every young Nigerian out there: your dreams are possible. Don’t let your environment limit the size of your dream. Don’t look at the state of the country and allow yourself to feel depressed or anxious about whether you have a future. Stick with your dream. The God who gave you that dream is the same one who will provide the resources and the people you need to make it happen. Just keep working hard, and smart.
Popular Yoruba actress Jaiye Kuti has opened up on the need to maintain youthful looks and constantly rebrand in order to remain relevant in the entertainment industry.
Speaking during a recent chat with The Nation, the Nollywood star noted that appearance and personality are critical assets for entertainers, making the fear of aging a common concern.
“In the entertainment industry, you don’t want to get old because what you sell is your face and your personality. So you don’t want to get old,” she said.
Kuti explained that beyond looks, it is also important to continue nurturing one’s craft, especially when it is a natural talent.
“And then whatever talent that you are blessed with, let me say God-given gift, because some people are blessed with a natural gift when it comes to craft or art, you want to keep it so that you start to renew it. The age is there but we are just trying a lot of rebranding,” she added.
On how she maintains her appearance, the actress revealed that although her local gym is currently shut down, she still finds time to stay active.
“I go to the gym once in a while but the gym in my area has been closed. But I love walking, so I walk every day. When you do that regularly, it helps your skin and helps your nerves, and then I take a lot of water,” she said.
Veteran actor and university lecturer, Professor Sola Fosudo, has expressed concern over the Nigerian government’s continued neglect of the performing arts sector, particularly the absence of functional theatre buildings across the country for graduates of Theatre Arts.
Speaking during a recent interview, Prof. Fosudo criticised the failure of successive governments to provide adequate infrastructure that would support the professional growth of theatre graduates after leaving school.
“The government does not think of how to build several theatres for Theatre Arts graduates where they can work and practice after graduation. They built just one National Theatre at Iganmu, Lagos, so if there’s a play there, people from Agege, Iyana Ipaja and other places in Lagos would have to come to Iganmu,” he said.
Prof. Fosudo, who lectures at the Lagos State University (LASU), compared the situation with that of other sectors such as law and medicine, noting that while governments invest in general hospitals and courts across the country, the same commitment is lacking when it comes to the arts.
“It’s not the same in those other countries that our politicians visit. They build general hospitals across the state, courts too. That way, when lawyers and doctors graduate, there’s a working space for them, unlike Theatre Arts students,” he added.
